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1
Okay, H. Hakan. "The views of music teachers and music teacher candidates about value training". International Journal of Academic Research 6, nr 2 (30.03.2014): 92–102. http://dx.doi.org/10.7813/2075-4124.2014/6-2/b.15.
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Bremmer, Melissa. "Does the body count as evidence? Exploring the embodied pedagogical content knowledge concerning rhythm skills of a Dutch specialist preschool music teacher". International Journal of Music in Early Childhood 16, nr 1 (1.06.2021): 89–103. http://dx.doi.org/10.1386/ijmec_00029_1.
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In educational research, the teacher’s body tends to be neglected as a source of evidence of pedagogical content knowledge (PCK). The music teacher’s body might, however, communicate knowledge about teaching that is key to the profession of music teachers. This qualitative single case study set out to explore what the embodied PCK of a music teacher regarding teaching rhythm skills could be. Through a stimulated recall interview, two video analysis tasks, a digital notebook and a semi-structured interview, the PCK of a Dutch specialist music teacher teaching rhythm skills to preschoolers was mapped. The findings show that physical modelling, but also instructional, guiding, representational gestures and embodied ways of assessing, reflect embodied aspects of a music teacher’s PCK regarding rhythm skills. This research study illuminates the role of the music teacher’s body in PCK and provides a starting point for developing a body-based pedagogy for (future) music teachers.
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Bremmer, Melissa. "Does the body count as evidence? Exploring the embodied pedagogical content knowledge concerning rhythm skills of a Dutch specialist preschool music teacher". International Journal of Music in Early Childhood 16, nr 1 (1.06.2021): 89–103. http://dx.doi.org/10.1386/ijmec_00029_1.
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In educational research, the teacher’s body tends to be neglected as a source of evidence of pedagogical content knowledge (PCK). The music teacher’s body might, however, communicate knowledge about teaching that is key to the profession of music teachers. This qualitative single case study set out to explore what the embodied PCK of a music teacher regarding teaching rhythm skills could be. Through a stimulated recall interview, two video analysis tasks, a digital notebook and a semi-structured interview, the PCK of a Dutch specialist music teacher teaching rhythm skills to preschoolers was mapped. The findings show that physical modelling, but also instructional, guiding, representational gestures and embodied ways of assessing, reflect embodied aspects of a music teacher’s PCK regarding rhythm skills. This research study illuminates the role of the music teacher’s body in PCK and provides a starting point for developing a body-based pedagogy for (future) music teachers.
4
Friesen Wiens, Kim. "The Discerning Process of Song Selection". Alberta Academic Review 5, nr 1 (2.09.2022): 7. http://dx.doi.org/10.29173/aar139.
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Songs that were once considered standard repertoire in elementary music programs across Canada are now being identified as including derogatory, misogynistic, and/or harmful texts. While there has been research and findings compiled on the text of songs (Bailey, 2020; Ellingsen, 2019; Kelly-McHale, 2018; McDougle, 2021), this is still a relatively new field, particularly regarding how information about texts of songs is shared with teachers. How can existing music education programs provide learning opportunities around repertoire selection for both in-service and preservice teachers? The Orff Level Certificate Program of Carl Orff Canada works with both preservice and in-service music teachers. The Orff program occurs on a yearly basis, with approximately 25 teacher educators and 250 teachers enrolled across the country. With the majority of elementary educators being “white, middle class, female, heterosexual teachers” (Holden & Kitchen, 2019, p. 27), there is a need to acknowledge the social hierarchy present in the classroom, that is, the power and privilege held by music educators. By working with music teachers to think critically about what musics to include, Orff Level Teacher Educators can provide the tools for music educators to “shape a curriculum and a pedagogy that purposefully places classroom musics alongside students’ own musics, experiences and interests (Hess, 2017, p. 71). In March 2021, an online survey, including a combination of multiple-choice and open-ended questions was sent to 25 Orff Level Teacher Educators in Canada. Responses were received from 17 teacher educators. The following questions guided the investigation: (a) How are songs selected for inclusion in the program? (b) Have there been changes to the repertoire list over the last five years? If so, what is driving these changes? (c) How do teacher educators see their selection process of repertoire impacting teachers’ choices of repertoire? Using thematic analysis, I analyzed the responses looking for common themes. These findings have served as a foundation for dialogue with Orff Teacher Educators. The next phase of the study will begin in spring 2022 where I will be interviewing three to five participants to further clarify findings from the survey portion of the research.
References
Bailey, P. (2020, April 27). Reclaiming kumbaya!
https://www.decolonizingthemusicroom.com/reclaiming-kumbaya
Ellingsen, A. (2019, October 30). Jump Jim Joe.
https://www.decolonizingthemusicroom.com/jump-jim-joe
Hess, J. (2017). Equity in Music Education: Why equity and social justice in music education?
Music Educators Journal, 104(1), 71–73. https://doi.org/10.1177/0027432117714737
Holden, M., & Kitchen, J. (2019). Equitable admissions in Canadian teacher education: Where
we are now, and where we might go. In J. Mueller, & J. Nickel, (Eds.) Globalization and
diversity in education: What does it mean for Canadian teacher education? (23-60).
Canadian Association for Teacher Education.
Kelly-McHale, J. (2018). Equity in music education: Exclusionary practices in music
education. Music Educators Journal, 104(3), 60–62.
https://doi.org/10.1177/0027432117744755
5
Rauduvaite, Asta, i Yanran Li. "TEACHER'S MUSIC ACTIVITIES IN THE CLASSROOM AS A PREREQUISITE FOR IMPROVEMENT OF MUSIC EDUCATION". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (25.05.2018): 395. http://dx.doi.org/10.17770/sie2018vol1.3219.
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The relevance of the research is realized through the search for the music teacher’s activities that help to improve the process of music education while fostering the learner’s aesthetic and meaningful relationship to music. The object of the research is a music teacher’s activity of teaching music in general education school. The aim of the research is to analyse the improvement opportunities of a music teacher’s activity during music lessons in seventh-eighth grades in general education schools. The methods of the research include the analysis of scientific literature and documents of education; semi-structured interviews with music teachers; a written survey; quantitative and qualitative data analysis. According to the collected data, a variety of musical activities helps to develop learners’ inborn musical abilities, provide a favourable learning environment with an opportunity to develop the learners’ musicianship and presuppose their transferable skills. In this context, teachers’ active and creative musical involvement helps the learner to experience more positive emotions. Such a personal involvement and cooperation serve as a major condition for the improvement of the teachers’ musical activity. An inappropriate choice of the activities can lead to dissatisfaction and be the main reason for failure. The teachers’ participation in musical activities could encompass a number of music modes, which could create a more attractive and productive activity in the lesson: a teacher – a performer – a listener – a facilitator – a leader.
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Kang, Sangmi, i Hyesoo Yoo. "American preservice elementary teachers’ self-reported learning outcomes from participating in Korean percussion lessons in a music-methods course". Research Studies in Music Education 41, nr 3 (10.01.2019): 327–42. http://dx.doi.org/10.1177/1321103x18806084.
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The purpose of this study was to examine American preservice classroom teachers’ self-reported learning outcomes after partaking in a weekly Korean percussion ensemble in an elementary music-methods course. The preservice classroom teachers rehearsed a Korean percussion ensemble piece ( Samulnori) as their course routine for half of the semester. Participants’ open-ended essays and semi-structured interviews were analyzed to determine their learning outcomes. Based on Abril’s (2006) three world music learning outcome categories (musical, cultural, and other) as initial codes, the emergent coding process was adopted. Through the data analysis, four themes emerged that illustrated preservice classroom teachers’ learning outcomes: (a) Cultural Awareness: Difference, (b) Music Fundamentals: Overlap with Traditional Course Content, (c) Bonding Experience: Community, and (d) Teacher Education: A Well-Rounded Teacher. Based on the results, possible implications for teaching culturally diverse musics to preservice classroom teachers in music-methods courses were discussed.
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Sularso, Sularso. "Pendekatan literasi musik: Upaya mengetahui persepsi mahasiswa pendidikan guru sekolah dasar tentang keragaman budaya musik Indonesia". Wiyata Dharma: Jurnal Penelitian dan Evaluasi Pendidikan 10, nr 1 (7.08.2022): 1–7. http://dx.doi.org/10.30738/wd.v10i1.12745.
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Bagi mahasiswa pendidikan guru sekolah dasar, pembelajaran musik menjadi matakuliah wajib yang harus dituntaskan. Dalam masyarakat multikultural, siswa pendidikan guru sekolah dasar harus memahami khasanah musik Indonesia secara baik. Persoalannya adalah mahasiswa pendidikan guru sekolah dasar tidak secara spesifik mengambil jurusan musik, sehingga rata-rata mereka tidak memiliki pengetahuan literasi musik secara memadai. Perspektif literasi musik tradisional ini dimaksudkan untuk membantu mahasiswa sekolah dasar dalam memahami hubungan antara musik tradisional dan pendidikan musik multikultural. Signifikansi penelitian ini terletak pada pentingnya perspektif literasi musik tradisional dalam membantu semua mahasiswa pendidikan guru sekolah dasar dalam mengkonstruksi pengetahuan tentang musik tradisional Indonesia. Berpijak pada persoalan tersebut, maka penelitian ini bertujuan untuk mengetahui persepsi mahasiswa pendidikan guru sekolah dasar dalam kaitannya dengan keragaman budaya musik Indonesia dengan pendekatan literasi musik. Data diperoleh melalui observasi, dan wawancara. Data yang dikumpulkan meliputi data-data pengetahuan musik tradisi, respon pengindraan musik, hingga perhatian mahasiswa terhadap fenomena musik tradisi disekitarnya. Hasil klasifikasi ketiga jenis data tersebut selanjutnya dianalisis dengan pendekatan literasi musik. Hasilnya adalah bahwa pendekatan literasi musik tradisional dapat membantu mahasiswa pendidikan guru sekolah dasar dalam mengkonstruksi pengetahuan tentang musik tradisional Indonesia. Kontribusi penelitian ini terletak pada pembentukan perspektif baru tentang pentingnya peningkatan literasi musik tradisional Indonesia sebagai upaya untuk melestarikan identitas dan semangat multikultural bagi calon guru sekolah dasar di Indonesia. Music literacy approach: An effort to find out the perceptions of elementary school teacher education students about the diversity of Indonesian music culture Abstract: For elementary school teacher education students, learning music is a compulsory subject that must be completed. In a multicultural society, elementary school teachers' education students must understand the repertoire of Indonesian music well. The problem is that elementary school teacher education students do not specifically major in music, so on average, they do not have adequate knowledge of musical literacy. This traditional music literacy perspective is intended to assist elementary school students in understanding the relationship between traditional music and multicultural music education. The significance of this research lies in the importance of the traditional music literacy perspective in helping all elementary school teacher education students in constructing knowledge about Indonesian traditional music. Based on these problems, this study aims to determine the perceptions of elementary school teacher education students in relation to the diversity of Indonesian music culture with a musical literacy approach. Data was obtained through observation and interviews. The data collected includes data on knowledge of traditional music, musical sense responses, and students' attention to the phenomenon of traditional music around them. The results of the classification of the three types of data are then analyzed using a musical literacy approach. The result is that the traditional music literacy approach can help elementary school teachers educate students in constructing knowledge about Indonesian traditional music. The contribution of this research lies in the formation of a new perspective on the importance of increasing literacy in traditional Indonesian music as an effort to preserve the identity and multicultural spirit of prospective elementary school teachers in Indonesia.
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Sile, Maruta, i Inta Ratniece. "Improvement of Music Teachers’ Competence via Productive Activity". SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (17.05.2015): 425. http://dx.doi.org/10.17770/sie2015vol2.422.
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<p><em>Professional pedagogical performance is an important condition for a successful implementation of national education policy. Creative and understanding the evolving process of today – a competent music teacher is competitive both in the domestic employment market and abroad. Music as art is creative in its essence. However, in practice it is often found that reproductive activity often dominates the preparation of music teachers. Being the most creative of arts – music in the course of acquiring the art of playing music loses its inherent creativity. Primarily, the preparation of music teachers is focused on activities based on the quality of learning by heart and remembering. The matter of research is related to raising awareness of productive activity in the improvement of music teacher competency. The objective is to study opportunities for improvement of music teacher competences within productive activity.</em> <em>The research is developed by theoretical and empirical methods involving discussions and a questionnaire. In order to improve the professional competence of a music teacher via productive activity, a procedural – structural model titled “Improvement of Music Teacher’s Competence via Improvisation” was developed, the utility of which is evaluated on the basis of various specific criteria. An exercise system is also developed and approved. As a result of verifying the model, we assure the utility thereof in the improvement of the professional competence of music teachers. The developed improvisation exercises are useful for practical productive activities.</em></p>
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Nurtug, Bariseri Ahmethan, i Bahar Yigit Vahide. "Preservice music teachers` perception of their music teachers". Educational Research and Reviews 12, nr 7 (10.04.2017): 432–41. http://dx.doi.org/10.5897/err2017.3153.
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Vasil, Martina. "Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education". International Journal of Music Education 37, nr 2 (19.02.2019): 298–310. http://dx.doi.org/10.1177/0255761419827367.
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The purpose of this multiple case study was to examine the practices and perspectives of four music teachers who integrated popular music and informal music learning practices into their secondary school music programs in the United States. A primary goal was to understand music teachers’ process of enacting change. Data included 16 semi-structured interviews, eight school site visits and observations, documents, and a researcher journal. Findings revealed that teachers enacted change within micro-contexts—their classrooms. Teachers had an internal locus for change; they developed rationales for change and initiated curricular changes in response to a lack of student engagement, which seemed to stem from students feeling insecure in their musical abilities and disconnected from the content and pedagogy used in music classes. For the teachers in this study, the solution was integrating popular music and informal music learning practices. Thematic analysis revealed eight characteristics of effective teacher-initiated change in secondary music education: (1) holistic and gradual change processes, (2) teacher reflection and inquiry, (3) teacher autonomy, (4) enabling institutional factors, (5) use of a variety of supportive networks, (6) student-centered pedagogy, (7) teacher-selected professional development, and (8) a balance of structure and chaos and formal and informal learning.
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Ghozali, Imam. "Professional Competence of Teachers in Learning Music at Elementary Schools in Pontianak". Harmonia: Journal of Arts Research and Education 20, nr 1 (9.06.2020): 84–94. http://dx.doi.org/10.15294/harmonia.v20i1.24932.
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Learning the art of music that has characteristics, special characters, and is carried out within an integrative thematic frame in elementary schools, needs to be supported by the professional competence of classroom teachers. The purpose of this study was to determine the professional competence of classroom teachers in learning music in elementary schools. This paper is the result of interpretive descriptive research with the main data source of classroom teachers, while the source of supporting data are students and principals. Data collection techniques are done by tests, observations, and interviews. The data collection process is carried out starting before the learning stage until the learning evaluation process. Based on the results of the study showed that: (1) the average mastery of classroom teachers to the knowledge of music theory needed in learning has only reached 45%; (2) the average teacher mastery of musical basic competencies has only reached 42.5%; and (3) the average teacher mastery of musical instrument playing skills competencies needed in learning has only reached 33.75%. The results of tests conducted on the teachers turned out to be relevant to the data obtained during the implementation of learning. It was proven that learning material in the form of musical knowledge such as music symbols, time bars, and various tempos is only taught by one class teacher. The practice of singing traditional songs is not supported by the teacher’s ability to give examples of reading song notation in accordance with the demands of the teacher’s handbook. Practical learning material for playing musical instruments is also only implemented by one classroom teacher. The implementation of music art learning in which most of the time allocation is filled with singing songs that are mastered (memorized) by the teacher. This shows that the classroom teacher in the implementation of music art learning has not been supported by adequate professional competence.
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Havre, Sigrid Jordal, Lauri Väkevä, Catharina R. Christophersen i Egil Haugland. "Playing to learn or learning to play? PlayingRocksmithto learn electric guitar and bass in Nordic music teacher education". British Journal of Music Education 36, nr 1 (16.11.2018): 21–32. http://dx.doi.org/10.1017/s026505171800027x.
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This article is based on a case study of how the Rocksmith entertainment music video game can be used in the context of studying electric guitar and bass as part of music teacher training. In empirical terms, we were interested in how music teachers’ knowledge becomes articulated in the pedagogical discourse of our participants. As conceptual points of departure, we used play theory, game studies, and the Technological Pedagogical Content Knowledge (TPACK) model of teacher's knowledge. Four ways of approaching the potential role of Rocksmith in music teacher education stand out as a result. In the discussion, we suggest that music gaming can be conceptualised as an activity that expands the reach of what can be considered as ‘playful’ and ‘serious’ in music teacher studies. Such an approach can guide our thinking about how different areas of music teachers’ knowledge merge into multidimensional competence, paving the way for further discussion about how ‘music educatorship’ can be constructed in the digital era.
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Milencovici, Daniel-Alex. "Teaching Music Education at Primary School in Romania: A Qualitative Analysis on Teachers Training". Studia Universitatis Babeș-Bolyai Psychologia-Paedagogia 67, nr 2 (5.12.2022): 139–62. http://dx.doi.org/10.24193/subbpsyped.2022.2.07.
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"A quality education is a major goal of each country because it is a predictor of the success of future societies. When it comes to quality education, initial teacher training should be a landmark of the universities that prepare the future teachers. Music education can contribute to the development of quality education from a young age of children, needing, therefore, well trained teachers to perform it. Exposing children to quality music education in primary school does not restrict to the class hours. It might cover different learning situations, as music can accompany most of the teaching hours, in an integrative manner, and music activities, as chorus, can contribute to developing key competences of kids, ranging from the esthetic and cultural ones, till the social or cognitive ones. The article aims to highlight the importance of training musical skills that the teaching staff who teaches music education at primary school in the national education system in Romania must have. Expert oppinions are echoed in the article, drawn from 19 semistructured interviews carried out in May-June 2021. The diagnosis and proposals of academics training the respective teachers, of experienced practitioners guiding and evaluating teachers in schools, point towards possible revision of curriculum in initial teacher education, to ensure better trained professionals to teaching music in primary education. Keywords: Musical skills, initial teacher education, teachers, primary school. "
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Davidova, Jelena. "Music Teacher’s Competences in the 21st Century". Pedagogika 134, nr 2 (18.10.2019): 99–108. http://dx.doi.org/10.15823/p.2019.134.6.
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Rethinking education of music teachers for new learners’ generation is as crucial as identifying the new competencies that today’s music teachers need to develop. According to analyses of EU documents and scientists’ conceptions concerning music teacher’s competences, the author characterizes tendencies and priorities for improving music teachers’ competences in the 21st century. The basic task of music education is promoting the formation of learners’ personal attitude to the world, to self and others, to provide the opportunity for learners to learn music as a new form of communication. In this context music teacher has to demonstrate knowledge and understanding not only in music subject, but in a) communication and positive relationship-building; b) collaboration with parents, colleagues, musicians, composers and specialists in other spheres; c) development of creative and social skills of learners based on three pedagogical principles – personalization, participation and productivity, as well as through and in the arts/culture approaches in music education process.
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Concina, Eleonora. "Effective Music Teachers and Effective Music Teaching Today: A Systematic Review". Education Sciences 13, nr 2 (19.01.2023): 107. http://dx.doi.org/10.3390/educsci13020107.
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(1) Background: This systematic review focuses on identifying the main features of effective music teachers and teaching recently examined in the educational and psychological literature. It aims to identify how recent studies have discussed the promotion of effectiveness in the context of both preservice and in-service music teachers. (2) Methods: A search in the main scientific databases for educational research (Eric, Science Direct, WWS, Web of Science, JSTOR) was conducted using keywords associated with the topics of effective teachers and teaching in the field of music instruction. In the end, thirty-six papers were identified and analyzed. (3) Results: The main themes were related to various dimensions of music teaching and teachers: teachers’ personal characteristics (self-esteem, resilience, etc.) and personality traits; professional skills; cognitive and psychological aspects of teachers’ professional identity (self-efficacy, professional motivation, beliefs regarding teaching and learning music, etc.); training experiences (pre- and in-service); social competence and the interpersonal relationship between the teacher and the students. (4) Conclusions: These dimensions seem interrelated and contribute to simultaneously define the effective music teacher and effective teaching in music. Specific attention should be paid to the impact of learning contexts on teachers’ activities, leading to a contextualized definition of effective music teachers.
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Jiaxin, Li. "A Narrative Study of Professional Growth of Outstanding Elementary School Music Teachers". IRA International Journal of Education and Multidisciplinary Studies 18, nr 2 (13.07.2022): 53. http://dx.doi.org/10.21013/jems.v18.n2.p3.
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Outstanding elementary school music teachers are outstanding representatives of the elementary school music teacher community, and they are the objects of study and emulation for general elementary school music teachers. Their professional growth experiences can provide inspiration for teacher education institutions to train elementary school music teachers and for general elementary school music teachers to grow professionally on their own. The narrative study of the outstanding elementary school music teachers revealed that the factors affecting their professional growth were from four aspects: personal, family, school and society, and the basic ways of their professional growth were professional learning, teaching and research activities and reflective summaries. It is pointed out that social opinion and encouragement are the key prerequisites for the professional growth of elementary school music teachers, government support and guidance are the important conditions for the professional growth of elementary school music teachers, and school service and management are the basic guarantees for the professional growth of elementary school music teachers, and independent learning and reflection are the inexhaustible motivation for the professional growth of elementary school music teachers.
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Rajan, Rekha S. "Preschool Teachers’ Use of Music in the Classroom: A Survey of Park District Preschool Programs". Journal of Music Teacher Education 27, nr 1 (4.07.2017): 89–102. http://dx.doi.org/10.1177/1057083717716687.
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The purpose of this study was to explore how preschool teachers use music and identify the types of music activities available to children in their classrooms. Preschool teachers ( N = 178) at park district programs throughout a large state in the American Midwest responded to an online questionnaire. Although teachers acknowledged using music every day, examples of music activities were primarily teacher-directed such as singing along to CDs or following music cues. Teachers also used music to build academic connections and to engage children during transitions. Teachers valued music as important to their teaching practice and for its contribution to children’s learning and development, but cited limited resources, a self-reported lack of music ability, and an absence of knowledge of the standards for music education, as inhibiting their use of child-centered music activities. Implications for teacher preparation and professional development course work in early childhood and music teacher education are discussed.
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Biasutti, Michele, i Eleonora Concina. "The effective music teacher: The influence of personal, social, and cognitive dimensions on music teacher self-efficacy". Musicae Scientiae 22, nr 2 (9.01.2017): 264–79. http://dx.doi.org/10.1177/1029864916685929.
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The profile of an effective instrumental and vocal music teacher includes many personal and professional dimensions. Among them, teacher self-efficacy plays a key role and influences the evaluation of music teachers’ effectiveness. Recent studies have identified several factors that affect one’s self-assessment of efficacy. However, a comprehensive model of the predictors of music teachers’ self-efficacy still does not exist. The aim of the current study was to identify factors that affect music teacher self-efficacy using a quantitative approach. Three self-report questionnaires were administered to 160 instrumental and vocal music teachers in Italy. Data about their beliefs on musical ability, teacher self-efficacy, and social skills were collected to define a predictive model of teachers’ self-efficacy using a stepwise regression analysis. In addition, an ANOVA was performed to examine group differences in music teacher self-efficacy and intercorrelations among questionnaire scales were computed. The findings have shown that a general score of music teacher self-efficacy can be predicted by a multidimensional model, including music teachers’ personal and professional traits, such as social skills, beliefs about musical ability, teaching experience, and gender. Moreover, differences in specific aspects of teacher self-efficacy emerged in relation to participants’ gender and level of expertise. The impact of these results on music teachers’ education is discussed.
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Killian, Janice N., Keith G. Dye i John B. Wayman. "Music Student Teachers". Journal of Research in Music Education 61, nr 1 (28.02.2013): 63–79. http://dx.doi.org/10.1177/0022429412474314.
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In this descriptive study, we examined self-reported concerns of 159 music student teachers pre– and post–student teaching, over a period of 5 years. Resulting comments ( N = 867) were analyzed on the basis of (a) stages of teacher concern (focus on self, subject matter [music and teaching], and students) modeled after Fuller and Bown and (b) emerging categories of concern compared with those identified by Madsen and Kaiser. Stages of concern were reliably identifiable across all comments. Teachers, as predicted, began student teaching with more self (56%) and fewer student (4%) comments. Post–student teaching comments resulted in fewer self (33%) and more student (20%) mentions. Categorization of concerns indicated that pre– and post–student teachers shared some concerns (applying knowledge, discipline, confidence) but showed marked differences in other areas (cut out for teaching, information about students, administrative duties). Pre–student teaching categories were similar to those reported by Madsen and Kaiser a decade earlier; post–student teaching comments differed.
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Bohianu, Kateryna. "VOCATIONAL TRAINING OF FUTURE MUSIC TEACHERS FOR EDUCATIONAL INCLUSION: CONCEPTUAL AND TERMINOLOGICAL ASPECT". Academic Notes Series Pedagogical Science 1, nr 191 (2020): 222–27. http://dx.doi.org/10.36550/2415-7988-2020-1-191-222-227.
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The article reveals the results of study on the problem of modern art education - vocational training of future music teachers for educational inclusion: conceptual and terminological aspect. The urgency of the problem is that today Ukrainian society makes demands on art education. In the Pedagogical University, they must train a music teacher as a leader of humanistic values of the highest standard. A teacher should be able to implement the principle of education accessibility for all. Vocational training of future teachers for educational inclusion is increasingly treated as a vital and integral component of education. It is because the number of children and young people with special educational needs is increasing worldwide. The purpose of the article is to determine the conceptual and terminological vocabulary on the problem of future music teacher’s vocational training for educational inclusion. To achieve this purpose, a set of research methods was used: theoretical analysis, search and bibliographic analysis to determine the essence of key research concepts; comparisons to identify common and distinctive features in the concepts; generalization to outline the author's comprehension of the conceptual and terminological vocabulary components. According to results of the problem of future music teacher’s vocational training for educational inclusion, a conceptual and terminological vocabulary was outlined. It includes the following concepts: «educational inclusion», «vocational training», «professional preparedness», and «professional and pedagogical competence», «readiness of a music teacher», «readiness of a music teacher for educational inclusion». In the study, future music teacher’s vocational training for educational inclusion is considered as an educational process aimed at formation students' readiness to provide in the future professional activity a system of educational services for persons with special educational needs. It involves their mastery of inclusive-oriented music and pedagogical competences, skills and personal qualities. Readiness of a music teacher for educational inclusion is defined as a professional and personal education, the result of competence gaining in the field of inclusive music and pedagogical education and training for inclusive music activity in general secondary education institution.
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Bonneville-Roussy, Arielle, Emese Hruska i Hayley Trower. "Teaching Music to Support Students: How Autonomy-Supportive Music Teachers Increase Students’ Well-Being". Journal of Research in Music Education 68, nr 1 (31.01.2020): 97–119. http://dx.doi.org/10.1177/0022429419897611.
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According to self-determination theory (SDT), the learning experiences of music students can be explained partly by the autonomy-supportive style adopted by their music teachers. To provide the first in-depth understanding of how music performance teachers support the autonomy of their students and how this support is related to students’ well-being, we adopted SDT and the PERMA model of well-being. We provide answers to three fundamental questions about teacher-student relationships in music: (1) Do music performance teachers support the autonomy of their students in higher music education? (2) How do students perceive this support? and (3) How does autonomy support affect music students’ well-being? Music performance teachers ( n = 35) and students ( n = 190) were recruited from higher music education institutions in the United Kingdom. Analyses included mean comparisons of teachers’ and students’ answers to survey questions, correlational analyses of teacher-student dyads’ responses on measures, and qualitative analyses of open-ended questions. Results showed that teachers and students mostly agreed that teachers provide autonomy support to their students. Teachers’ transmission of passion for music and autonomy-supportive behaviors were related to students’ well-being, whereas controlling behaviors hindered well-being. Qualitative results showed that although students put well-being at the core of their concerns, music teachers seemed unaware or ill-prepared to face those concerns.
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Sulentic Begic, Jasna, Amir Begic i Tihana Skojo. "Opinions of University Music Teachers on the Musical Competencies Necessary for Primary Education Teachers". International Journal of Higher Education 6, nr 1 (4.01.2017): 197. http://dx.doi.org/10.5430/ijhe.v6n1p197.
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This paper describes the research conducted in the Republic of Croatia during the 2012/13 academic year. We have gathered opinions from experts, i.e. teaching methods teachers from seven faculties of teacher education, regarding the music teaching competencies necessary for primary education teachers teaching music in the first several grades of elementary school. We used the Delphi method in our research, i.e. in our sample survey among teaching methods teachers. The teachers also evaluated the competencies of their students and some elements of teacher education studies course syllabi and programmes. The sample survey among the teachers was implemented via email. The goal of the research was to determine if the programmes of the music courses at the teacher education studies are appropriate for the development of the competencies necessary for students of music education. Teaching methods teachers emphasized the need for more practical training, primarily regarding playing instruments and singing, and they pointed out that the course Teaching Methods in Music is the most important course for the training of future music teachers. Aside from that, they believe that more classes should be devoted to music courses, i.e. they propose to reorganise the contents of the courses by increasing the amount of practical classes and reducing the amount of theory classes. They also believe that it is necessary to introduce testing of musical ability at entrance exams for admission into the teacher education studies.
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Brook, Julia, Robbie MacKay i Chris Trimmer. "How does a rock musician teach? Examining the pedagogical practices of a self-taught rock musician–educator". Journal of Popular Music Education 3, nr 2 (1.07.2019): 203–23. http://dx.doi.org/10.1386/jpme.3.2.203_1.
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This research examines the pedagogical practices of a self-taught musician who teaches music at an elementary school in Canada. Research on the ways that popular musicians teach has shown that many teachers use a combination of informal and formalized structures. We used Personhood theory as a conceptual framework to illuminate how the context and disposition of the musician–teacher informs their pedagogy. These findings demonstrate how context and disposition inform pedagogical practices and the ways that the teacher’s personhood contributes to students’ learning. We collected data through interviews with the teacher and school principal, distributed questionnaires to students and observed performances. Findings show that one’s personhood can contribute to the medium, message and messenger within a music education setting. Personhood theory helps frame the nested nature of these relationships and these findings point to the need to support development of in-service and pre-service teachers’ personhood.
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Hancock, Carl B. "National Estimates of Retention, Migration, and Attrition". Journal of Research in Music Education 57, nr 2 (18.06.2009): 92–107. http://dx.doi.org/10.1177/0022429409337299.
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This study was designed to estimate the magnitude of retention, migration, and attrition of music teachers; the transfer destinations of those who migrated; the career path status of those who left; and the likelihood that former music teachers would return to teaching. Data, which were analyzed for music ( n = 881) and non-music teachers ( n = 17,376), came from the 1988—1989, 1991—1992, 1993—1994, and 2000—2001 administrations of the National Center for Education Statistics's Teacher Follow-up Survey, a national survey designed to compile comprehensive data concerning changes in the teacher labor force. Results indicated that between 1988 and 2001, 84% of music teachers were retained by schools, 10% migrated to different schools, and 6% left the profession every year, in rates similar to non-music teachers. Transferring music teachers migrated primarily to different school districts in the same state. One year after leaving the profession, former teachers were attending college (28%), retired (23%), out of teaching (21%), in education but not as a teacher (14%), or working as a homemaker (12%). Approximately one third of former music teachers planned to return to teaching within 5 years, and an additional quarter planned to return after 5 or more years.
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Huang, Ye. "Teacher-Student Interactive Creation Strategies in Music Teaching Assisted by Computer Information Technology". Mathematical Problems in Engineering 2022 (8.07.2022): 1–5. http://dx.doi.org/10.1155/2022/5443729.
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In music learning, the mobilization of students’ learning subjectivity needs the correct guidance of music teachers. Under the correct guidance of music teachers, students can exert their subjective initiative to realize the role of the main body of learning. In music classes, high-quality contact between teachers and students is required to meet the goals of teacher supervision and student subjectivity. This paper presents a music education approach based on a computer-assisted system and the realities of music education in China’s elementary and secondary schools. This strategy can specifically solve the problems existing in the interaction between teachers and students in Chinese music education. Furthermore, based on the actual effect of this system in music teaching for various age groups, a strategy for implementing high-quality teacher-student interaction in music teaching is proposed. The effectiveness of the system is also analyzed. This work studies the interactive creation strategy of teachers and students in music education through the computer information technology-assisted system.
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Shin, Jihae. "Experienced Korean primary teachers’ perceptions of their difficulties in music classes". British Journal of Music Education 36, nr 02 (14.05.2019): 173–82. http://dx.doi.org/10.1017/s026505171900010x.
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AbstractBecause the importance of experienced teachers is growing, retaining experienced music teachers has become a major issue among educators. Therefore, it is necessary to listen attentively to what kinds of difficulties experienced music teachers perceive and to think about how to help these teachers so that they can successfully perform in their own music classes. The purpose of this study was to explore the difficulties in music classes that experienced Korean primary teachers perceived. The results of this study indicated that the teachers showed concerns regarding their own musical abilities, traditional Korean music, and students’ motivations for music learning. Implications of the findings for music teacher support are provided.
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Supiarza, Hery, Deni Setiawan i Cece Sobarna. "Pola Permainan Alat Musik Keroncong dan Tenor di Orkes Keroncong Irama Jakarta". Resital: Jurnal Seni Pertunjukan 20, nr 2 (26.08.2019): 108–20. http://dx.doi.org/10.24821/resital.v20i2.2459.
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Penelitian ini mendiskusikan pola permainan alat musik keroncong dan tenor serta penerapannya pada lagu “Cente Manis” dan “Sambel Cobek”. Kedua alat musik ini merupakan identitas keroncong gaya Jakarta. Penelitian dilakukan dengan pendekatan kualitatif deskriptif dan data dikumpulkan melalui observasi, wawancara, dan dokumentasi. Berdasarkan hasil penelitian ditemukan bahwa asal mula istilah alat musik keroncong berasal dari bunyi alat musik itu sendiri. Istilah tenor merujuk pada istilah suara laki-laki tertinggi. Ditemukan juga teknik permainan alat musik keroncong dan tenor yaitu teknik rasguaedo (prung), strumming, arpeggio dan dengan cara dipetik satu-satu pada setiap senar. Teknik memainkan alat musik keroncong dan tenor tersebut meliputi pola permainan dobel engkel, dobel balik, format dan gaya lama. Permainan keempat pola tersebut bergantung pada lagu yang akan dibawakan dan kesepakatan para personilnya. The Approach of Orff-Schulwerk for Prospective Music Teachers in Kindergarten Schools. The topic in this article focuses on the application of Orff-schulwerk for university students as prospective teachers in school, including kindergarten. Orff-schulwerk can be seen as an approach to music education. In related to primary education, this approach focuses on the children needs and develops children musicality through necessary activities (elemental) in music and movement. Some questions in this article are: 1) what kind of Orff-schulwerk that can be used by prospective teachers in the learning process at kindergarten? 2) what benefits can be obtained by teacher candidates through the application of the Orff-schulwerk approach? And 3) how do prospective teachers who use this approach can understand their role in learning? The method used in this study is action research. The findings in this research are prospective teachers understand that: 1) Orff-schulwerk can be used in related to exploration – imagination – creation that involving music and movement; 2) this approach is useful for developing student musicality in the learning process in kindergarten; and 3) in this approach, prospective teachers are acted as facilitators who can create an atmosphere of learning that stimulate students’ imagination and creation. This study concludes that the Orff-schulwerk approach should be mastered by prospective teachers who teach in schools, including kindergarten. By having an understanding of this approach, both theoretically and practically, prospective teachers not only enhance their knowledge but also support the national education goals, namely the students’ character building in schools.Keywords: Orff-Schulwerk; music education; kindergarten teachers
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Brand, Manny. "Master music Teachers". Music Educators Journal 77, nr 2 (październik 1990): 22–25. http://dx.doi.org/10.2307/3397811.
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Krueger, Patti J. "Beginning Music Teachers". Update: Applications of Research in Music Education 19, nr 1 (listopad 2000): 22–26. http://dx.doi.org/10.1177/875512330001900105.
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Kos, Ronald P. "Becoming music teachers: preservice music teachers’ early beliefs about music teaching and learning". Music Education Research 20, nr 5 (18.06.2018): 560–72. http://dx.doi.org/10.1080/14613808.2018.1484436.
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Cynthia L. Wagoner. "Measuring Music Teacher Identity: Self-Efficacy and Commitment Among Music Teachers". Bulletin of the Council for Research in Music Education, nr 205 (2015): 27. http://dx.doi.org/10.5406/bulcouresmusedu.205.0027.
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Brand, Manny. "Reel Music Teachers: Use of Popular Films in Music Teacher Education". International Journal of Music Education os-38, nr 1 (listopad 2001): 5–12. http://dx.doi.org/10.1177/025576140103800102.
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Hamilton, Sandra, i Jennifer Vannatta-Hall. "Popular music in preservice music education: Preparedness, confidence and implementation". Journal of Popular Music Education 4, nr 1 (1.03.2020): 41–60. http://dx.doi.org/10.1386/jpme_00013_1.
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This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music educators. Qualitative data ascertained perceived confidence levels of graduates to utilize popular music. Results revealed that western classical music is the focus for the majority of music educators’ undergraduate degree programmes and that often music teacher preparation programmes ignore popular music study. Bridging the gap between western classical and popular music would help prepare teachers to include and value all types of music in K-12 music education.
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Kirliauskienė, Rasa. "Importance of Intuition in Music Education". Pedagogika 115, nr 3 (10.09.2014): 208–20. http://dx.doi.org/10.15823/p.2014.038.
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Communication of music is firstly based on intuitive intonational thinking. Thus, according to Z. Rinkevičius (2009), it is quite natural that appropriate use of music may efficiently stimulate intuitive thinking, reserves of unknown to us subconsciousness, and through them, those of consciousness. Therefore, music facilitates improvement of spiritual powers and intellect more than any other kinds of art.
Research object: importance of intuition in music education.
Research aim: to reveal importance of intuition in music education.
Methods of research and sample: analysis of scientific literature sources, interview.
Qualitative research data are described applying content analysis. The scheme of categorization was not planned in advance and it was devised on the basis of the received data. The research was carried out in October 2013 and January 2014. The people related to the analysed problem (key informants) were chosen in the first stage of the research: 3 teachers with sufficient pedagogical experience working at school. The semi-structured (oral) interview was employed. The focus of this stage of research was on subjective opinion of the informants about importance of intuition in music education. They also were asked in what way, according to the informants, intuition is manifested in their work as a phenomenon. Attempts were also made to identify the musical activities, where use of intuition is evidenced. The second stage of the research included 28 fourth year (full-time and part-time) students. The semi-structured interview (written) was used in this stage. The question about importance of intuition in musical education was not presented to future teachers of music with the acquired sufficient knowledge of pedagogy, psychology and other theories, speciality - related abilities and skills of observational and performance practices. They were asked to express their opinion about the content of the role of a contemporary music teacher. The question about significance of intonation was not presented to the informants making attempts to envisage the vision of the young generation (i.e., music teachers to be) about what a school teacher should be like and then the researcher searched for certain links to substantiate own theory.
Conclusions
• The research revealed that music teachers frequently act under influence of intuition, change plans when new ideas emerge and get overwhelmed with an impulse of creativity. According to them, manifestations of intuition in music activities are mostly expressed in music creation, listening to music, music playing and musical thinking.
• The research data identified the content of the role of a music teacher pointing out its 5 aspects: educator (education for humanity: humanity, communication, playing music together); authority (competent specialist: example for school learners, profound knowledge of study subject, universality); importance of teacher’s personality (aspects of teacher’s personality: ability to arouse learners’ interest, ability to be a friend, teacher’s charismatic personality, flexibility); creativity (manifestations of creativity: teacher’s creativity, ability to develop students’ creativity, improvisation, revelation of students’ personality through creative expression) and value-based aspects (enlightener of students’ souls, nurturer of beauty of life, provision of sense to new impressions, expression of emotions).
• The content of the role of a contemporary music teacher revealed during the research substantiates possibilities of intuition in music education and expands its boundaries.
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Valdebenito, Karla, i Alejandro Almonacid-Fierro. "Teachers’ conceptions of music teaching: A systematic literature review 2010-2020". International Journal of Evaluation and Research in Education (IJERE) 11, nr 4 (1.12.2022): 1950. http://dx.doi.org/10.11591/ijere.v11i4.22950.
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This article provides an overview of research in music education between 2010 and 2020 and affords a systematic review of literature related to the experiences of teachers in teaching music in the classroom. The literature reports that music teaching depends mostly on the teacher, who must employ teaching-learning strategies according to the initial training received and the different educational contexts of professional practice. The article has the objective of analyzing the teaching practices that teachers deploy in the regular classroom of primary and secondary education. Bibliographic information was collected from the Web of Science, Scopus, and EBSCO databases. The inclusion of studies was based on having the elements of the search strategy and the selection process through inclusion criteria according to the stated objective. There were 21 selected articles. The results indicate that musical interventions by teachers in the classroom depends on some factors: i) Socioeconomic context of the educational institution; ii) Educational policies, initial teacher training; and iii) Insufficient support for this discipline. The conclusion according to the teachers’ perceptions indicate that music teaching depends on the purposes of the educational institution, the professional development of the teacher, and the teacher's preparation in the management of musical content and teaching skills.
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Tucker, Olivia Gail. "Preservice Music Teacher Occupational Identity Development in an Early Field Experience". Journal of Music Teacher Education 30, nr 1 (24.06.2020): 39–52. http://dx.doi.org/10.1177/1057083720935852.
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Occupational identity development is an important, complex component of music teacher education. Preservice teachers may experience dissonance between and/or integration of their musician and teacher identities, and scholars have found early field experiences to be important in undergraduates’ transitions into the teacher role. The purpose of this instrumental case study was to examine the occupational socialization and identity development of preservice music teachers in an early field teaching experience with a focus on preservice teacher and P–12 student interactions. I conducted observations, interviews, and a demographic survey during a semester-long early field experience. Findings centered around (a) the dynamic nature of preservice teachers’ identities; (b) the importance of peers, music teacher educators, and students to preservice participants as they engaged in the process of becoming music teachers, and (c) the momentary embodiment of music teacher and student roles. I connect these findings to prior research and suggest implications.
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Bhebhe, Sithulisiwe, Tawanda Runhare i Ratau John Monobe. "Training music teachers through distance learning: The case of teaching practice mentoring at one primary school teacher training college in Zimbabwe". British Journal of Music Education 32, nr 3 (listopad 2015): 259–71. http://dx.doi.org/10.1017/s0265051715000339.
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This study sought to examine the quality of teaching practice (TP) mentoring in the teaching of music at primary school level through the distance mode of training at one college of education in Zimbabwe. The study examined the experiences and perceptions of lecturers and student teachers on TP mentoring in music within the context of a distance mode of teacher training. A purposive sample of 17 music student teachers and 11 lecturers was selected. The study employed a qualitative case study research design in which one-on-one interviews, focus group discussions and documentary analysis were used to collect data. The main conclusion from the study was that the distance approach to teacher training was not effectively utilised for teacher preparation in music due to inadequate music knowledge and skills of mentor teachers as well as weaknesses of the school curriculum. Recommendations drawn from these conclusions are that the teaching practice period should not be the same for all subjects and more demanding subjects such as music deserve to be practiced more. Student teachers specialising in music must be placed for teaching practice where there are music specialist teachers. This study also recommends that the placement of music student teachers for teaching practice be undertaken jointly by the teaching practice coordinators and the music specialist lecturer.
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Isbell, Daniel S. "Musicians and Teachers". Journal of Research in Music Education 56, nr 2 (lipiec 2008): 162–78. http://dx.doi.org/10.1177/0022429408322853.
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This study was designed to investigate the socialization and occupational identity of undergraduate music education majors enrolled in traditional preservice teacher education programs. Preservice music teachers ( N = 578) from 30 randomly sampled institutions completed a 128-item questionnaire. Descriptive statistics were computed for all variables, and factor analysis was used to explore the underlying structure of occupational identity. Correlational and regression analyses revealed relationships among socialization influences and occupational identity. Descriptive findings surrounding various aspects of primary and secondary socialization revealed that parents, school music teachers, and private lesson instructors exerted a positive influence on student decisions related to participating in music and pursuing a music education career. Factor analysis results indicated that occupational identity consisted of three constructs: musician identity, self-perceived teacher identity, and teacher identity as inferred from others. Correlations between secondary socialization and occupational identity were slightly stronger than those between primary socialization and occupational identity, and influential experiences were more predictive of occupational identity than influential people.
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Gee, Jennifer Potter. "Elementary General Music Teachers’ Preparation in Classroom Management". Journal of Music Teacher Education 31, nr 2 (7.12.2021): 55–67. http://dx.doi.org/10.1177/10570837211062183.
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The purpose of this study was to examine elementary general music teachers’ classroom management preparation within music teacher education programs. Participants ( N = 341) were active elementary general music teachers as identified by the National Association for Music Education (NAfME). Descriptive data included frequencies, percentages, and cross-tabulations. The most frequently reported sources of classroom management preparation were mentoring from a licensed teacher and supervised fieldwork, while creating classroom rules and expectations and teaching procedures were the most frequent examples of within-course content. Participants were most satisfied with their preparation received through licensed teacher mentoring and supervised fieldwork. Implications for music teacher educators are presented.
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Asmus, Edward. "Recruiting the Teachers of Music Teachers". Journal of Music Teacher Education 11, nr 1 (wrzesień 2001): 3–4. http://dx.doi.org/10.1177/105708370101100102.
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Culp, Mara E., i Sara K. Jones. "Shame in Music Education: Starting the Conversation and Developing Resilience". Music Educators Journal 106, nr 4 (czerwiec 2020): 36–42. http://dx.doi.org/10.1177/0027432120906198.
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Feelings of shame may contribute to music teachers and music teacher educators being unwilling to discuss needs and concerns for fear of being judged or seen as inadequate. Shame or fear of feeling shame can also lead individuals to withdraw or perpetuate negative behaviors. Although shame is often a natural part of the human experience, the diverse nature of the content in music education, the wide variety of learners in various music education spaces, and music teachers’ beliefs and practices can be sources of shame among music teachers. This article aims to start a conversation about shame in music education and help music educators and music teacher educators feel empowered to use shame resilience theory as a means of understanding and coping with feelings of shame.
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Hancock, Carl B. "Music Teachers at Risk for Attrition and Migration". Journal of Research in Music Education 56, nr 2 (lipiec 2008): 130–44. http://dx.doi.org/10.1177/0022429408321635.
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This study examined the effects of teacher characteristics, school conditions, teacher efficacy, external support, and remuneration on music educators' risk for attrition and migration. Data from the 1999—2000 Schools and Staffing Survey—a comprehensive, nationally representative survey of teachers, principals, and schools conducted by the National Center for Educational Statistics—were examined for 1,931 music teacher participants. Based on sequential logistic regression analysis, significant predictors included young age (less than 30 years; 30—39 years), teaching in a secondary or private school, extracurricular hours, schoolwide concerns, limited support from administrators and parents, lower salary, and dissatisfaction with salary. When not controlling for school conditions and teacher efficacy, female music teachers were more likely than males to be at greater risk, and minority teachers were more likely to be a high risk than nonminorities. No observed effects were found for older teachers, education, mentoring, and school location. Implications for music teacher retention policy are discussed.
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Snell, Alden H., Jill Wilson i Carolyn S. Cruse. "Cooperating Teachers’ Perceptions of Hosting and Mentoring Music Student Teachers". Journal of Music Teacher Education 28, nr 2 (30.07.2018): 84–97. http://dx.doi.org/10.1177/1057083718786269.
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Researchers have demonstrated the importance of professional development experiences for in-service music educators that are content-specific and that cultivate meaningful partnerships with higher education faculty and preservice music teachers. The purpose of this mixed-methods study was to explore cooperating teachers’ perceptions related to hosting and mentoring student teachers. We interviewed 13 cooperating teachers to document their views. Based on interview results, we created and distributed an online questionnaire, with 102 cooperating teachers from five U.S. regions responding. Cooperating teachers’ motives for hosting student teachers were largely altruistic, and they identified various student teacher skills and university supervisor supports as being important. We suggest that the immersive experience of serving as a cooperating teacher may be a form of professional development.
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Kallio, Alexis Anja. "Popular “problems”: Deviantization and teachers’ curation of popular music". International Journal of Music Education 35, nr 3 (sierpień 2017): 319–32. http://dx.doi.org/10.1177/0255761417725262.
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Despite many music classrooms welcoming popular musics in striving towards an inclusive and democratic education, there has been relatively little research into teachers’ decisions regarding which popular musics are included and which are excluded from classroom activities. This is of particular interest taking into account arguments that the norms and values associated with some popular musics or songs exist in conflict with the ideals and ideologies of formal schooling. Through interviews with five Finnish music teachers, this article explores the identification and navigation of “problematic” popular musics in school contexts. Teachers noted that four musical features: lyrics, imagery, musical mood and emotional affect, influenced their constructions of popular musics and their repertoire selections for students. This study suggests that popular repertoire decisions are ethically, ideologically, and politically loaded, and that welcoming students’ own musics does not necessarily result in a more inclusive, democratic classroom culture.
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Lasauskiene, Jolanta. "(RE)CONSTRUCTION OF STUDENT MUSIC TEACHER IDENTITY". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (25.05.2018): 306–16. http://dx.doi.org/10.17770/sie2018vol1.3180.
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The professional identity of music teacher represents the essence of this profession. Improving the programmes of music teacher education and deciding how to (re)construct the professional identity of prospective music teachers, it is important to discuss what contextual factors can have an impact on the development of music teacher identity and what possibilities of its (self-) development are available at university. A better understanding of the role-identity of teachers at various stages of their careers could enhance the conceptions of study programmes in music teacher education. The article analyses and discusses the conception of music teacher identities, substantiates its peculiarities during pre-service training, points out the most important characteristics for the successful professional activity of the music teacher. The research presented in the article focuses on professional identity development of 30 university music students (15 Lithuanian and 15 foreign) at Lithuanian University of Educational Sciences (Music Education). The method of focus group interview was used in this study.The research results show that the student music teachers have developed a distinctive attitude towards the professional education in universities and their own expectations. Suggestions for practice and further research are also provided.
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Hess, Juliet. "Troubling Whiteness: Music education and the “messiness” of equity work". International Journal of Music Education 36, nr 2 (11.04.2017): 128–44. http://dx.doi.org/10.1177/0255761417703781.
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At the elementary level, White, female music teachers largely populate music education. In the diverse schools of Toronto in Canada, teachers navigate their White subjectivities in a range of ways. My research examines the discourses, philosophies, and practices of four White, female elementary music educators who have striven to challenge dominant paradigms of music education. Their practices include critically engaging issues of social justice, studying a broad range of musics, and emphasizing contextualization. In many ways, these teachers interrupt the Eurocentric paradigm of music education to explore other possibilities with students. However, equity work is messy, and there were also moments that unsettled these teachers’ active equity agendas. This article describes both the subversions and the reinscriptions in a way that might be instructive to music education.
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Hou, Zongchen, Chulan Xue i Ruicong Ma. "Research of public and private junior high schools’ music teachers’ classroom teaching decision-making under China’s music curriculum standards". SHS Web of Conferences 157 (2023): 01015. http://dx.doi.org/10.1051/shsconf/202315701015.
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In the 11th anniversary of the issuance of Compulsory Education Music Curriculum Standards, this study aims to investigate the application of new curriculum standards in the teaching decision-making of junior middle school music teachers in China by means of questionnaire survey and semi-structured interview. A total of 54 public middle school music teachers and 46 private middle school music teachers responded to the survey within three months. Through the t-test of SPSSAU, the results show that junior high school music teachers apply the curriculum standards in different degrees in teaching decision-making. Public and private junior middle school music teachers have different application of music curriculum standards, and private schools do not pay enough attention to music curriculum standards. In a word, to strengthen the teacher decision-making level; Truly implement the aesthetic education goal of “Music Curriculum Standards”.
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Miller, David S., Rebecca B. MacLeod i Jennifer S. Walter. "Status of Band and Orchestra Programs in North Carolina". String Research Journal 11, nr 1 (lipiec 2021): 51–65. http://dx.doi.org/10.1177/19484992211020767.
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The purpose of this study was to examine K–12 instrumental music education in North Carolina. Specifically, we investigated course offerings, teacher demographics, teaching responsibilities, and music program funding. We administered a survey to the members of the North Carolina Music Educators Association listserv who indicated band or orchestra as their teaching area. Participants identified themselves as teachers of orchestra ( n = 44), band ( n = 173), or a hybrid of both ( n = 17). Of schools that offered instrumental music, 95% offered band and 36% offered orchestra. More than 20% of orchestra teachers were “very likely to retire within 5 years.” The majority of teachers relied on fundraising to provide adequate music education for students. Results of this study were analyzed and compared to national averages reported in the Give a Note Foundation’s 2017 report: The Status of Music Education in United States Public Schools. Implications for orchestra teachers, music programs, music teacher preparation curriculum, and future research are discussed.
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Sekalegga, Lawrence Branco. "An analysis of four instructional strategies used by secondary school music teachers in Uganda". International Journal of Music Education 40, nr 2 (29.10.2021): 276–87. http://dx.doi.org/10.1177/02557614211050985.
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This paper provides an analysis of how secondary school music teachers (N = 10) in Uganda apply instructional strategies (peer teaching, practical music-making, modeling, and feedback) in their music lessons. Analysis was undertaken to establish if there were any similarities or differences amongst the urban, suburban, and rural music teachers and between experienced and inexperienced teachers in ways they employed instructional strategies. Data were gathered through videotaped classroom observations and analyzed via SCRIBE (Simple Computer Recording Interface for Behavioral Evaluation). Results showed that practical music-making was the most observed strategy while negative feedback (disapprovals) was the least observed strategy. Experienced teachers provided more feedback in form of approval and engaged their students more in practical music-making activities. Results from the study are discussed in terms of implications for improved teacher preparation. The strategies discussed in this study should be encouraged through teacher professional development, and through greater emphasis in teacher preparation courses.
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Barnes, Gail V. "Teaching Music: The First Year". Bulletin of the Council for Research in Music Education, nr 185 (1.07.2010): 63–76. http://dx.doi.org/10.2307/41110366.
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Abstract The purpose of this study was to contribute to the novice music teacher case literature by studying the prevalent themes in the experiences of five first-year teachers. The teachers submitted periodic journal entries and were also interviewed at the beginning of their second semester of teaching. I analyzed transcripts using HyperResearch and submitted them to the participants for both descriptive and interpretive validity checks. Many themes emerged, but those with the highest frequency counts were: Students (behavior), Students (musical). Administrative, Students (personal), Self-evaluation (discipline), and Self evaluation (personal). The five teachers had varying experiences, and all continued in those situations for the following year. Teacher educators must prepare novice teachers for the varying realities of their early experiences, and school administrators must offer effective support during this critical time.